like very much the full, fresh countenance of the wife of Paul Veronese, painted by him. I like the style of his faces. I adore Titian and Vandyck; but that poor
Raphael! Provided only no one knows what I write;
people would take me for a fool ; I do not criticise Raphael; I do not understand him ; in time I shall no doubt learn to appreciate his beauties. The portrait of Pope Leo X.—I think it is—is admirable, however." A surprising critique for a girl of her age!
When seventeen she made her first picture of any importance. "While they were playing cards last night I made a rough sketch of the players—and this morning I transferred the sketch to canvas. I am delighted to have made a picture of persons sitting down in different attitudes; I copied the position of the hands and arms, the expressions of the countenance, etc. I had never before done anything but heads, which I was satisfied to scatter over the canvas like flowers."
Her enthusiasm for her art constantly increased. She was not willing to acknowledge her semi-invalidism and was filled with the desire to do something in art that would live after her. She was opposed by her family, who wished her to be in fashionable society. At length she had her way, and when not quite eighteen began to study regularly at the Julian Academy. She worked eight and nine hours a day. Julian encouraged her, she rejoiced in being with " real artists who have exhibited in the Salon and whose pictures are bought," and declared herself "happy, happy!" Before long M. Julian told her that she might become a great artist, and the first time that Robert-
